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John Anderson Bell (1809-1865)
King's College Cambridge Chapel Interior
Signed and indistinctly dated Watercolour c. 1840 53x39cm Bell was born in Glasgow; his father was James Bell, advocate and his sister Jane Cross Simpson the hymn-writer and poet. Following Edinburgh University Bell spent 1829 and 1830 in Rome as an art student, returning to the UK to serve his articles as an architect with Rickman & Hutchinson, the gothic revivalist practice in Birmingham. Subsequently he practised in Edinburgh, designing country houses, and the Victoria Buildings in Glasgow for the Conservative politician Archibald Orr Ewing in Scottish baronial style. Thirty of the engravings in John Le Keux's magnificent 1847 book Memorials of Cambridge are from paintings by Bell; this particular painting is believed to have been painted at the same time, although not published. The Great East Window depicted in the painting was created between 1526 and 1531 by Gaylon Hone and three partners (one Flemish and two English) and - together with the other sixteen they made - represent some of the finest stained glass of their period. Here Bell has captured the colours and the light of the window in almost magical fashion. It is an interesting view as it records the chapel in the mid nineteenth century. In 1968 the installation of Rubens' the Adoration of the Magi as an altarpiece involved the lowering of the Sanctuary floor through removal of the steps clearly visible in Bell's view and also removal of the seventeenth century panelling around the walls. It is still felt that the chapel would have been better left 'unimproved' and without the Reubens, though the form recorded by Bell had itself been improved in 1906 when Detmar Blow designed a reredos. Blow's reredos remains in storage in the College. The East window may be viewed in high resolution in the series of seven short films - accompanied by music by King's alumnus Francis Grier - entitled Sword in the Soul. -
John Chessell Buckler (1793-1894)
Horham Hall Essex 1830
Watercolour 25 x 35.5 cm 44 x 57 cm including frame, UK shipping only J C Buckler was an esteemed architect, coming second to Charles Barry in the competition for the design of the new Houses of Parliament in 1836. However, his greatest passion was recording the details of historical buildings. 'With such subjects before me as cathedrals, abbeys and ancient parish churches...I never made any effort to increase the number of my employments as an architect.' Buckler 1852 Harmoniously working with his father and younger brother, Buckler drew and preserved the designs of ancient structures, many of which no longer survive today. Horham Hall is stands as a fortunate exception. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good. -
John Chessel Buckler (1793-1894)
The Nave of Westminster Abbey
Watercolour Signed, Titled and dated 1810 25x17 cm Click here for other works by Buckler and biographical detail. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
John Dean Monroe Harvey (1895-1978)
A design for Barclays Bank, Walthamstow (1964)
Signed and dated ‘J D M Harvey 64.’ Gouache on paper. A very fine architectural perspective by Harvey with his customary distinctive clouds and elegant people. The scheme was built, but the ground floor has since been rebuilt in a rather less satisfactory fashion. 41 x 60 cm (16 x 23 inches) For biographical details and more works by JDM Harvey, please click here. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
John Dean Monroe Harvey (1895-1978)
Garret Hostel Bridge, Cambridge, Trinity Hall and Clare College behind
38x61cm Watercolour and pencil For biographical details and more works by JDM Harvey, please click here. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
John Fulleylove (1845-1908) attributed Canterbury Quad, St John's College Oxford
Watercolour over pencil, unsigned 40.5x30.5cm Born in Leicester, John Fulleylove trained as an architect with a Leicester firm before becoming a full-time painter. He exhibited widely in the UK, at such venues as the Royal Academy, the Fine Art Society, and the Royal Society of British Artists. His paintings were the subject of illustrated topographical books, including one on ‘Oxford’ published by the Fine Art Society. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Laid to thick card support; generally very good, two small spots to sky visible in photograph. -
John Fulleylove (1845-1908) The Kitchen Bridge, St John’s College, Cambridge Signed lower right “Fulleylove” Watercolour 13 x 19cm (5 x 7 inches) Please click here for the matching watercolour of the Old Library together with biographical details and other works by the artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
John Fulleylove (1845-1908)
The Old Library, St John’s College, Cambridge
Signed lower right “Fulleylove” Watercolour 19x13cm (7×5 inches) Please click here for the matching watercolour of the Kitchen Bridge together with biographical details and other works by the artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
John Fulleylove (1845-1908) Trinity College, Cambridge - Great Court
Watercolour 13x17cm Born in Leicester, John Fulleylove trained as an architect with a Leicester firm before becoming a full-time painter. He exhibited widely in the UK, at such venues as the Royal Academy, the Fine Art Society, and the Royal Society of British Artists. His paintings were the subject of illustrated topographical books, including one on ‘Oxford’ published by the Fine Art Society. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good. -
John Nash
Shell Guide to Cambridgeshire Original poster c. 1960s 76x51cm Shell commissioned a series of posters to go with their County Guide books, and they commissioned paintings by the leading artists of the day. Nash needs no introduction as an artist. A painter of landscapes and still-lives and illustrator - particularly of botanic works - who worked extensively with wood engravings, he was a natural choice for Shell. His most famous work is probably 'Over the Top' which hangs in the Imperial War Museum, relating to a counter-attack by 1st Battalion Artists' Rifles at Welsh Ridge on 30 December 1917. Of the eighty men who went over the top, sixty-eight were killed or wounded within the first few minutes. Nash escaped and painted the picture three months later. The Tate holds his 1918 painting 'The Cornfield' which was his first non-war painting (he only started painting in oils in 1914). Condition: mounted in conservation mount and wrapped in plastic sleeve (mount hides short edge tears). -
John Newberry RWS (b. 1934)
Exeter College Chapel, Oxford (1979)
Watercolour 18x27cm Newberry read Architecture at Cambridge and then Fine Art at Newcastle. For many years he taught at the Ruskin School of Drawing in Oxford. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
John Piper (1903-1992)
Bullslaughter Bay
Watercolour, gouache and pastel on paper 27.5 x 35.5cm John Piper CH was an English painter, printmaker, and designer of stained-glass windows. His work often focused on the British landscape, especially churches and monuments, and included tapestry designs, book jackets, screen-prints, photography, fabrics and ceramics. Piper spent a considerable amount of time in Pembrokeshire, frequently returning to the landscape of Bullslaughter Bay; this painting was probably produced there in the mid-1950s. The artist captures an animated, capricious bay, characterised by a distinctive colour palette and stamped with irregular rock formations. Condition: generally excellent. For other works by the artist and biographical details, click here. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
John Piper (1903-1992)
Capesthorne Hall (1977)
Screenprint 64 x 102 cm Piper captures here, in his usual fanciful colours, the Cheshire stately home of Capesthorne Hall. Built in neoclassical style by William Smith and his son Francis, the hall today is used for weddings and other civil occasions. John Piper CH was an English painter, printmaker, and designer of stained-glass windows. His work often focused on the British landscape, especially churches and monuments, and included tapestry designs, book jackets, screen-prints, photography, fabrics and ceramics. Condition: very good; a little old discolouration to edges under mount. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by John Piper. -
John Piper (1903 - 1992)
Cartoon for Baptistry Chapel Window, Coventry Cathedral
Gouache and mixed media art 127 x 54 cm Labelled B101 by the artist and initialled. A gouache design for one of the Coventry Cathedral Baptistry Window panels. John Piper was commissioned to design the Baptistry Window in 1955, in partnership with glassmaker Patrick Reyntiens. The window is made of 198 panels of stained glass and is 26 metres high.Piper commented in his book “Stained Glass: Art or Anti-Art?” that ‘The function, the flesh and blood and bones of stained glass – its whole being – is to gratify light and to intensify atmosphere in a room or building, not necessarily to provide colour – or a message.’ The ambiguous post-war tenor of the design is striking: the khaki palette, the soldier-like figure, and the landscape evoking a 20th century theatre of war.
John Piper CH was an English painter, printmaker, and designer of stained-glass windows. His work often focused on the British landscape, especially churches and monuments, and included tapestry designs, book jackets, screen-prints, photography, fabrics and ceramics. Condition: very good. Four pin holes and a small handling mark mid left. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by John Piper. -
John Piper (1903–1992)
Exeter College, Oxford (1977)
Screenprint Signed in pencil 81.9x61cm (32.2x24 inches) One of Piper's largest and most impressive prints, here featuring Gilbert Scott's chapel at Exeter. It is often claimed that Gilbert Scott based it on Paris's Sainte Chapelle. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: slight even age toning to paper, small area of repair to print. -
John Piper C.H. (British 1903-1992)
Eye and Camera: Red, Blue and Yellow
(Levinson 317) Screenprint in colours, 1980, on Arches signed John Piper, a proof print aside form the numbered edition of 150, published by Kelpra Editions and the Tate Gallery. Framed in plain black hand-finished frame 400 x 605 mm Condition: Excellent - never previously framed. Click here for biographical details and other works by the artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
John Piper C.H. (1903-1992)
Garn Fawr
Watercolour and gouache on paper; executed 1969 37 x 54 cm Titled and dated lower left ‘Garn Fawr 12 VIII 69′; signed lower right. It was Piper's wife, Myfanwy - whom he met whilst she lived in London with her Welsh family - who first introduced Piper to West Wales in the 1930s. The Pembrokeshire landscape became his muse, as it also did for Graham Sutherland, another great neo-romantic painter. Having lived in various parts of Wales during the post-war period, the Pipers bought a cottage by Garn Fawr, on the Pembrokeshire Coas, in 1962. The volcanic outcrop was the site of an Iron Age hill fort, and had also been used as a high-viewpoint during the First World War. Piper started out as a mostly abstract artist, but by the 1960s he had moved more towards realism, often focusing on depicting architecture. Here, Piper paints the wet Welsh countryside. Each of the fields is complete with its own crop; the different plants and flowers are designated by characteristic splashes of dark colour. For other works by the artist and biographical details, click here. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
John Piper (1903 - 1992)
Montagne near St Emilion (20/10/1968)
Gouache and oil on paper 35 x 52 cm Provenance: Marlborough Galleries 1968; Magdalene Street Gallery, Cambridge; The University of Cambridge Under Librarian. Titled, dated ("2010" for 20th October), and signed lower right. A typically Piper landscape with four main fields of colour quartering the picture. Piper painted several views in Bordeaux, of which this is one; his fascination with local topography is evident in his characterful and abstract evocation of the region's natural forms. John Piper CH was an English painter, printmaker, and designer of stained-glass windows. His work often focused on the British landscape, especially churches and monuments, and included tapestry designs, book jackets, screen-prints, photography, fabrics and ceramics. Condition: excellent; original frame. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other works by the artist. -
John Piper (1903-1992)
Reims Cathedral (c. 1960)
Ink, watercolour and gouache 21x35cm Inscribed 'Reims' lower left and signed 'John Piper' lower right. Piper loved all things France, and all things Cathedral; in this work, he brings the cathedral of Reims, where France's monarchs were crowned, to life. Piper also produced an aquatint of Reims which was published in 1972. For other works by the artist and biographical details, click here. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally excellent; framed. -
John Piper C.H. (BRITISH, 1903-1992)
Shadwell Park
(Levinson 277) Screenprint in colours, on Arches, signed and numbered. Printed by Kelpra Studio and published by Marlborough Fine Art, London. 510 x 690mm From the 'Victorian Dream Palaces' series of prints by Piper. Click here for biographical details and other works by the artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: generally very good. A little discolouration to extreme margins hidden under mount. In hand-finished black-painted frame. -
John Piper
Skeabost, Skye 1975
Screenprint by Curwen Studio Printed on Arches by Kelpra Studio and published by Marlborough Fine Art 68x89cm Signed in crayon; an un-numbered proof print aside from the edition of 70. Levinson 250 From the Series 'Five Scottish Chapels (in ruins)' If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
John Piper (1903-1992)
Study for the Piper Building mural
Gouache 14.5x11.5cm Provenance: P Manzareli (who built the fibreglass murals for Piper), gift from the artist; Milne & Moller Fine Art; Katharine House Gallery; private collection, Scotland. This study is a fascinating part of London's architectural history. The Piper Building is a mid-century architectural icon in Fulham. Built in the 1950s as 'Watson House', it was a laboratory complex for the North Thames Gas Board and has an innovative concrete structure. Piper was commissioned to produce the murals surrounding the building. The Gas Board moved out in the mid 1980s. Scheduled for demolition in the 1990s, the building was instead converted into seventy apartments and renamed the Piper Building. With double-height ceilings, the apartments were sold as shells, and purchasers were free to commission their own architects and builders. Condition: Generally excellent; framed. For other works by the artist and biographical details, click here. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
John Piper C.H. (British 1903-1992) Nursery Frieze II
500 x 1250 mm Lithograph 1936 One of Piper's many seascapes, Frieze II is an exercise in abstract capriccio. Piper draws together the muted grey, pink, and blue of the lithograph's fragmented background with foreground details in black, white, and bright red, picking out particular moments of the frieze for the viewer. The lighthouse has no keeper; the beach and the pier are empty; the train has neither passengers nor driver. The church at the top of the rocky hill is a brilliant cubist borrowing, showing both the West end and the North side simultaneously - and it has no congregation. The only human figures present in the frieze are those collected around the bonfire, watching the flames and the show of fireworks. The scene is at once devoid of people and intensely human. Piper was just 24 when he made Frieze II. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Condition: Generally very good, backed to linen with small - and largely not visible - areas of restoration. -
John Piper (1903-1992)
St James the Less, Westminster
Screenprint 65 x 49 cm From the 'Retrospect of Churches' series, numbered 24/70. Generally very good. Signed in pencil. John Piper CH was an English painter, printmaker, and designer of stained-glass windows. His work often focused on the British landscape, especially churches and monuments, and included tapestry designs, book jackets, screen-prints, photography, fabrics and ceramics. A Retrospect of Churches was issued as a suite of 24 original colour lithographs in colour, in an edition of 70 copies (70 numbered copies plus five artist's proofs). This poignant and dramatic representation of St James the Less is an evocative depiction of this part of London in the evening: wet pavements reflect the bright lights of the buildings, and the church is a warm, moody reddish-purple against the deep black of a dark night. Condition: Generally very good. -
John Speed/Speede (1551/2-1629) The Countye of Monmouthshire
Performed by John Speede assisted by William Smyth. And are to be sold by Henry Overton at the White Horse without Newgate London. Printed 1710-1743 Probably the most famous early English mapmaker, John Speed's early life is somewhat of an enigma. He is believed to have trained as a rolling-press printer, but he was at heart an historian granted a sinecure in the Customs House by Queen Elizabeth to indulge his passion, later becoming a Fellow of the Society of Antiquaries. His first maps were historical, of the Holy Land 'Canaan as it was Possessed both in Abraham and Israels Dayes' and of England and Ireland recording 'all their Civill Warres since the Conquest'. In 1611 he published his 'Hostory of Great Britaine' which he regarded as his magnum opus, but it was the companion atlas 'Theatre of the Empire of Great Britaine' that - as the first printed atlas of Great Britain - sealed his reputation. William Rogers engraved the first map, 'the County Palatine of Chester' in about 1600, but following his untimely death the task of engraving was passed to Jodocus Hondius of Amsterdam. By 1612 the atlas was complete, the maps famed for their decorative elements. Many have town plans - Britain's first series of such plans - and descriptive text was printed to the reverse until the 1676 edition. Later printings (up until 1770) were issued without this text. By 1627 it has become a part of a world atlas 'Prospect of the Most Famous Parts of the World'. During the 17th century the plates passed through the hands of a series of publishers, the 1676 edition of Thomas Bassett and Richard Chiswell being regarded as its high point with the inclusion for the first time of a series of important maps. For the first half of the eighteenth century they were firmly established in the hands of the Overton family. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Small losses outside platemark just reaching platemark at top, with some toning to paper as usual. Later but well undertaken hand-colouring. Generally good condition. -
John Speed/Speede (1551/2-1629) The Countye Palatine of Chester with that most ancient citie
39x51cm Engraving Probably the most famous early English mapmaker, John Speed's early life is somewhat of an enigma. He is believed to have trained as a rolling-press printer, but he was at heart an historian granted a sinecure in the Customs House by Queen Elizabeth to indulge his passion, later becoming a Fellow of the Society of Antiquaries. His first maps were historical, of the Holy Land 'Canaan as it was Possessed both in Abraham and Israels Dayes' and of England and Ireland recording 'all their Civill Warres since the Conquest'. In 1611 he published his 'Hostory of Great Britaine' which he regarded as his magnum opus, but it was the companion atlas 'Theatre of the Empire of Great Britaine' that - as the first printed atlas of Great Britain - sealed his reputation. William Rogers engraved the first map, 'the County Palatine of Chester' in about 1600, but following his untimely death the task of engraving was passed to Jodocus Hondius of Amsterdam. By 1612 the atlas was complete, the maps famed for their decorative elements. Many have town plans - Brtiain's first series of such plans - and descriptive text was printed to the reverse until the 1676 edition. Later printings (up until 1770) were issued without this text. By 1627 it has become a part of a world atlas 'Prospect of the Most Famous Parts of the World'. During the 17th century the plates passed through the hands of a series of publishers, the 1676 edition (as here) of Thomas Bassett and Richard Chiswell being regarded as its high point with the inclusion for the first time of a series of important maps. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Trimmed and other small losses outside platemark. Some toning and spotting to paper as usual. Later but well undertaken hand-colouring. Old tape mark to top outside platemark. Generally good condition. -
John Stanton Ward CBE (1917 - 2007)
St John's College, Cambridge
Watercolour 30 x 47 cm John Stanton Ward CBE was an English portrait artist, landscape painter and illustrator. This view of St John's highlights the dreamlike quality of the college and its city. Ward depicts Cambridge on a winter afternoon; the trees are bare, and the afternoon sun sets gently over the city's lawns and high spires. Condition: very good. -
John Worsley (1919-2000)
Join the Regular Army
Printed for H.M. Stationary Office by Leonard Ripley & Co. (1959) Lithographic poster 76x51cm Worsley was a war artist during World War II who was captured by the Germans and then an illustrator for Eagle comic. Click here for further biographical details and other posters by Worsley. This image is titled A Royal Signals Technician Repairing a Radio and the original oil painting is in the Royal Signals Museum in Blandford Forum. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
John Worsley (1919-2000) (attributed)
Join the Regular Army through a Junior Leaders' Unit
Printed for H.M. Stationary Office by Carillon Press Ltd, Bournemouth. (c. 1959) Prepared for the War Office by the Central Office of Information Lithographic poster 76x51cm Young soldiers in a clearing in a forest read a map as a canoe is lowered into the river behind them. Worsley was a war artist during World War II who was captured by the Germans and then an illustrator for Eagle comic. Click here for further biographical details and other posters by Worsley. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Join QARANC - Queen Alexandra's Royal Army Nursing Corps
The Army looks to you to look after the Army
Lithographic poster c. 1940s 38x25cm Printed for HMSO by Fosh & Kosh Limited, London and prepared for the War Office by the Central Office of Information. If you are interested email info@manningfineart.co.ukor call us on 07929 749056. -
Anon.
Join the Regular Army: A Skilled Trade
Lithographic poster c. 1950s. Framed in a hand-finished black frame 75x50cm Army recruitment poster produced for the War Office. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Join Your Street Group - Save for Prosperity
Original vintage poster 74 x 50 cm Issued by the National Savings Committee, London. Printed for HM Stationery Office by Fosh & Cross Ltd. An original vintage WW2 poster encouraging Britons to save via the National Savings scheme. Condition: generally very good. Not backed. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other original vintage National Savings posters. -
Joseph Murray Ince (1806-1859) (attributed)
Balliol College, Oxford
Oil on board 22.5x29cm (9 x 11.5 in.) In a fine hand-finished black and gilt frame. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Brought up in Radnorshire, in Wales, Ince studied under David Cox from 1823-1826, and then exhibited at the Royal Academy. He was a drawing master at Cambridge University during the 1830s, during which period he painted many views of the Colleges of both Oxford and Cambridge, returning to Radnorshire in 1835. His works are in the collections of major galleries including the Tate, The V&A and The Fitzwilliam Museum in Cambridge. -
Joseph Murray Ince (1806-1859) King's College Chapel, Cambridge
Watercolour 27.5x21 In a fine hand-finished gilt frame. Provenance (label to reverse) Christopher Wood Gallery Signed lower right 'J M Ince 1844' Brought up in Radnorshire, in Wales, Ince studied under David Cox from 1823-1826, and then exhibited at the Royal Academy. He was a drawing master at Cambridge University during the 1830s, during which period he painted many views of the Colleges of both Oxford and Cambridge, returning to Radnorshire in 1835. His works are in the collections of major galleries including the Tate, The V&A and The Fitzwilliam Museum in Cambridge. This is a particularly fine interior painting of the venue for the famous annual Service of Nine Lessons and Carols. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: In a fine hand-finished gilt frame. Generally very good condition. -
Joseph Murray Ince (1806-1859) Outside Welsh Border Cottage - Summer
Watercolour 10.5x17.5cm Provenance (label to reverse) Fine Art Society 1971 Signed lower right 'J M Ince 1827' Brought up in Radnorshire, in the Welsh Borders, Ince studied under David Cox from 1823-1826, and then exhibited at the Royal Academy. He was a drawing master at Cambridge University during the 1830s, during which period he painted many views of the Colleges of both Oxford and Cambridge, returning to Radnorshire in 1835. His works are in the collections of major galleries including the Tate, The V&A and The Fitzwilliam Museum in Cambridge. -
Attributed to Joseph Murray Ince (1806-1859) Outside Welsh Border Cottage - Winter
Watercolour 10.5x17.5cm Brought up in Radnorshire, in the Welsh Borders, Ince studied under David Cox from 1823-1826, and then exhibited at the Royal Academy. He was a drawing master at Cambridge University during the 1830s, during which period he painted many views of the Colleges of both Oxford and Cambridge, returning to Radnorshire in 1835. His works are in the collections of major galleries including the Tate, The V&A and The Fitzwilliam Museum in Cambridge. Click to view other works by Ince. -
Attributed to Joseph Nash (1808-1878) 'Ruins of an Italian Villa'
Watercolour 24 x 29cm If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Excellent. -
Julian Otto Trevelyan, RA (1910 -1988) Caius College II, Cambridge (1959/1962)
Signed by the artist and inscribed in pencil Artist's Proof, aside from the edition of 70. The edition consisted of 70 numbered proofs and 30 artist’s proofs. We also have listed one of the 70 numbered proof prints, which is in a purple colourway - rather than the blue here. 37x51cm (14.5×20 inches) This comes from Julian Trevelyan’s Cambridge Suite which consisted of 10 lithographs: Caius College, Caius College II, Christ’s College, Corpus Christi College, Downing College, Emmanuel College, Jesus College, Peterhouse, St Catharine’s College and Sidney Sussex College. The Government Art Collection has copies of several of the prints in this series. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good. Old crease that runs from top to bottom has been restored and is barely perceptible - see photograph. -
Julian Otto Trevelyan, RA (1910 -1988)
Caius College II, Cambridge (1959/1962)
Signed by the artist and numbered 4/70 in pencil. The edition consisted of 70 numbered proofs and 30 artist’s proofs. 37x51cm (14.5×20 inches) This comes from Julian Trevelyan’s Cambridge Suite which consisted of 10 lithographs: Caius College, Caius College II, Christ’s College, Corpus Christi College, Downing College, Emmanuel College, Jesus College, Peterhouse, St Catharine’s College and Sidney Sussex College. The Government Art Collection has copies of several of the prints in this series. Click here for biographical details and other works by the artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Julian Trevelyan (1910-1988)
Cretan Windmills (1964)
Oil on canvas 61 x 77 cm Peasants and a donkey, followed by a cow and goat, travel along the Cretan shore. Windmills dominate the shoreline - Julian Trevelyan was markedly inspired by the windmills he saw while visiting Crete in the 1960s. The composition is substantially made up of triangular forms; the inverted floating pyramid hovers above the flashing blades of the windmills. Combined with the man, woman, and donkey in the foreground, the pyramid detail suggests Mary and Joseph’s Flight into Egypt. Click here for biographical details and other works by the artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Julian Trevelyan (1910-1988)
Father Thames (1969)
Etching and aquatint, signed, numbered 53/75 35x48cm Click here for biographical details and other works by the artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Julian Trevelyan (1910-1988)
Gravesend (1969)
Etching and aquatint, signed, titled, and inscribed 'Artist's Proof' in pencil 35x48cm (sheet size 59x77cm) On J Green paper Condition: generally excellent, never previously framed, see image. Click here for biographical details and other works by the artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Julian Trevelyan (1910-1988)
Kensington Gardens (1969)
Etching and aquatint, signed, numbered 55/75 35x48cm Click here for biographical details and other works by the artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Julian Trevelyan (1910-1988)
New York Bridges (1982)
Oil on canvas 76 x 61 cm (29.9 x 24 in.) In artist's original wooden frame. Provenance: the estate of Mary Fedden from the estate of her husband Julian Trevelyan. Click here for biographical details and other works by the artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Julian Otto Trevelyan, RA (1910 -1988)
Peterhouse, Cambridge College (1959/1962)
Proof print aside from the edition of 70. Signed by the artist and numbered in pencil. 38 x 44 cm (15×17 in.) Framed This comes from Julian Trevelyan’s Cambridge Suite which consisted of 10 lithographs: Caius College, Caius College II, Christ’s College, Corpus Christi College, Downing College, Emmanuel College, Jesus College, Peterhouse, St Catharine’s College and Sidney Sussex College. The Government Art Collection has copies of several of the prints in this series. Click here for biographical details and other works by the artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Julian Trevelyan (1910-1988)
Richmond (1969)
Etching and aquatint, signed, numbered 47/75 48x35cm Click here for biographical details and other works by the artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Julian Trevelyan (1910-1988)
Richmond Park (1969)
Etching and aquatint, Signed, numbered 36/75 35x48cm (sheet size 59x77cm) On J Green paper from the Thames Suite Click here for biographical details and other works by the artist including several others from the Thames Suite. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Julian Trevelyan (1910-1988)
St James' Park (1969-70)
Etching and aquatint, signed, numbered 48/75 35x48cm Click here for biographical details and other works by the artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Julian Trevelyan (1910-1988) Islam Etching 35 x 48 cm (sheet size 55 x 68 cm) Nephew of the historian G M Trevelyan, Julian Trevelyan was educated at Bedales and then at Trinity College, Cambridge, where he read English. After moving to Paris, Trevelyan studied engraving at Stanley William Hayter’s school, working alongside artists such as Max Ernst, Joan Miro and Pablo Picasso. He married the potter Ursula Darwin in 1934, and in 1935 they moved to Hammersmith, buying Durham Wharf beside the River Thames which was Trevelyan’s studio – and home – for the rest of his life. His wartime service was – like so many artists – as a camoufleur. A Royal Engineer from 1940-43, he served in North Africa and Palestine, forcing the German Afrika Korps to use resources against a dummy army whilst real tanks were disguised as more harmless equipment. In the desert, nothing could be hidden - but it could be disguised. Following the dissolution of his marriage in 1950, he married the painter Mary Fedden. Teaching at Chelsea School of Art, Trevelyan eventually became head of the Etching Department and his pupils included David Hockney and Peter Ackroyd. Condition: mounted to board. -
Out of stock
Julian Trevelyan (1910 - 1988)
Souk (1972)
Etching and aquatint 71 x 56 cm Signed, titled, and numbered 1/65 in pencil outside of the plate. The Tate Collection holds number 25/65. An Arab bazaar. Tall, nameless blue figures surround a veiled and staring woman. Nephew of the historian G M Trevelyan, Julian Trevelyan was educated at Bedales and then at Trinity College, Cambridge, where he read English. After moving to Paris, Trevelyan studied engraving at Stanley William Hayter’s school, working alongside artists such as Max Ernst, Joan Miro and Pablo Picasso. He married the potter Ursula Darwin in 1934, and in 1935 they moved to Hammersmith, buying Durham Wharf beside the River Thames which was Trevelyan’s studio – and home – for the rest of his life. His wartime service was – like so many artists – as a camoufleur. A Royal Engineer from 1940-43, he served in North Africa and Palestine, forcing the German Afrika Korps to use resources against a dummy army whilst real tanks were disguised as more harmless equipment. In the desert, nothing could be hidden - but it could be disguised. Following the dissolution of his marriage in 1950, he married the painter Mary Fedden. Teaching at Chelsea School of Art, Trevelyan eventually became head of the Etching Department and his pupils included David Hockney and Peter Ackroyd. Condition: mounted to board, small scuff to very bottom of margin, otherwise very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Julian Trevelyan (1910-1988)
Spinnakers (1972)
Etching 48 x 35 cm (sheet size 68 x 55 cm) Signed in pencil and numbered 1/65. The Tate holds number 24/56 - reference P01330. Small vessels weave around two great boats with striped masts, observed by a dark sky full of geometric clouds. A red buoy bobs in the foreground, and the heavily textured sea and sky blend into one. Nephew of the historian G M Trevelyan, Julian Trevelyan was educated at Bedales and then at Trinity College, Cambridge, where he read English. After moving to Paris, Trevelyan studied engraving at Stanley William Hayter’s school, working alongside artists such as Max Ernst, Joan Miro and Pablo Picasso. He married the potter Ursula Darwin in 1934, and in 1935 they moved to Hammersmith, buying Durham Wharf beside the River Thames which was Trevelyan’s studio – and home – for the rest of his life. His wartime service was – like so many artists – as a camoufleur. A Royal Engineer from 1940-43, he served in North Africa and Palestine, forcing the German Afrika Korps to use resources against a dummy army whilst real tanks were disguised as more harmless equipment. In the desert, nothing could be hidden - but it could be disguised. Following the dissolution of his marriage in 1950, he married the painter Mary Fedden. Teaching at Chelsea School of Art, Trevelyan eventually became head of the Etching Department and his pupils included David Hockney and Peter Ackroyd. Condition: generally very good. Mounted to board. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Julian Trevelyan (1910-1988) St Catharine's College, Cambridge
Etching and aquatint, signed, numbered 58/70 41 x 47 cm Nephew of the historian G M Trevelyan, Julian Trevelyan was educated at Bedales and then at Trinity College, Cambridge, where he read English. After moving to Paris, Trevelyan studied engraving at Stanley William Hayter’s school, working alongside artists such as Max Ernst, Joan Miro and Pablo Picasso. He married the potter Ursula Darwin in 1934, and in 1935 they moved to Hammersmith, buying Durham Wharf beside the River Thames which was Trevelyan’s studio – and home – for the rest of his life. His wartime service was – like so many artists – as a camoufleur. A Royal Engineer from 1940-43, he served in North Africa and Palestine, forcing the German Afrika Korps to use resources against a dummy army whilst real tanks were disguised as more harmless equipment. In the desert, nothing could be hidden - but it could be disguised. Following the dissolution of his marriage in 1950, he married the painter Mary Fedden. Teaching at Chelsea School of Art, Trevelyan eventually became head of the Etching Department and his pupils included David Hockney and Peter Ackroyd. Condition: Some toning to paper. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Hugh Casson (1910 - 1999)
Keble College, Oxford
Lithograph 25 x 36 cm Signed and numbered 408/500, both in pencil. Casson's autumnal depiction of Keble, complete with students and ubiquitous bicycles. Sir Hugh Casson was educated at Eastbourne College; St John’s College, Cambridge; and the Bartlett School of Architecture. Trained in the 1930s in the early modernist style, he taught at the Cambridge School of Architecture. After employment as a camoufleur during World War 2 by the Air Ministry, in 1948 he was appointed as director of architecture for the Festival of Britain. A close friend of the Royal Family, he undertook designs for the 1953 coronation, designed the interior of the Royal Yacht Britannia (“The overall idea was to give the impression of a country house at sea”), and taught the young Charles III to paint in watercolours. Amongst his architectural achievements are the Elephant House at London Zoo, the 1978 redevelopment of Bristol Docks, the Raised Faculty Building for The University of Cambridge, and a building for the Royal College of Art. He published a number of illustrated books, of which Casson’s Oxford and Casson’s Cambridge are probably the best known. A limited edition series of prints was produced from the paintings. Condition: generally very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Keble College, Oxford. -
Gavin Pomeroy (born 1929)
Keble College, Oxford
Watercolour 17 x 25 cm Signed and dated lower right. A watercolour of Keble College. Pomeroy juxtaposes the red brick of the original 1870s buildings with the glass and metal of one of the modernist additions to the college in the 1970s: the ABK buildings, including the glass "goldfish bowl" bar. William Gavin Ingram Pomeroy was born in Newlyn, Cornwall. From 1947 he studied architecture under Geoffrey Bazeley, and later became a lecturer for the Plymouth School of Architecture. He became the senior lecturer in architecture at what is now Plymouth University and retired in 1999. Condition: generally very good. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for more views of Keble College. -
Anonymous, UK 1939
Keep Calm and Carry On
Ministry of Information Original poster, 1939 76 x 50 cm Very rare - we have traced copies in the Imperial War Museum collection but no other public collection. Scroll down for further information. Condition: A/A- Generally excellent, with three folds and a small crease as visible in photograph and tiny loss to left edge of middle fold. Deliberately not backed this to linen or over-restored as it is important that it does not look like a modern reproduction. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Keep It Dark (1939 - 1945)
Lithographic poster 25 x 31 cm Sponsored by Her Majesty's Stationery Office; printed by Perry Colourprint. A copy of this poster is held by the Imperial War Museum. This poster, bearing lyrics designed to be sung to the tune of "She'll be coming round the mountain", was designed for the Ministry of Information during the Second World War. It urges the population to avoid talking carelessly about details of Britain's operational movements, which might unwittingly end up in the wrong hands. Condition: good. Some small losses to extreme margins. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Out of stock
Gerald Mac Spink (flourished 1920 - 1940)
Kelham Hall Chapel II
Watercolour 29 x 24 cm Signed 'G Spink' lower left. A depiction of the magnificent chapel at Kelham Hall, a sumptuous Gothic Revival Victorian country house designed by George Gilbert Scott. The artist highlights the soaring, cavernous proportions of the chapel and the delicate beauty of its focal point: a raised crucifix which also acts as an altar screen. There have been three halls at Kelham over the centuries, all built by the Manners Sutton family, whose links with Nottinghamshire go back to the 12th century. The first Kelham Hall was built shortly after the end of the Civil War for Robert Sutton, 1st Lord Lexington. It was destroyed by fire in 1728 and rebuilt for Bridget, the Duchess of Rutland, the daughter of the 2nd Lord Lexington. Bridget Sutton had married John Manners, the 3rd Duke of Rutland. Today's Kelham Hall was built by the revered Victorian architect Sir George Gilbert Scott after the second Hall was destroyed by fire in 1857. Between 1903 and 1973 the hall was used an Anglican theological college for the Society of the Sacred Mission, which built the domed chapel in 1928. The Hall is now a sought-after wedding venue. Spink was a skilled artist, illustrator, and designer who produced a series of posters in the inter-war period for companies including the London Underground, Southern Railways, LNER, Hawker Engineering, and British Steel. He won a prize in 1933 from the Imperial Institute for his poster artwork. He also worked as an aeronautical engineer in Kingston-on-Thames for Hawker Engineering; his greatest achievement was the creation of the 'Squanderbug', a 500cc racing car which he built in 1947, and which races even to this day. Provenance: the artist's estate. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other architectural views. -
Ken Moroney (British, 1948-) The Fens, Norfolk (c. 1990)
Oil on canvas board 48 x 58 cm Provenance: Bonhams (2003) Of Anglo-Irish parentage, Moroney was born in South London, and showed early artistic talent. His Irish father, finding it unmanly, encouraged him to box, and whilst a teenager Moroney won a gold medal. However this did not distract him from art, and once his boxing hobby came to an end the paints continued to show his flair. Self-taught, his impressionistic style, with bold use of colour, has found widespread favour and his works now hang in many important collections. Here he captures the many colours often visible in a fenland sky, where the flat landscape makes for huge skies. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Excellent. -
Kenneth Rowntree
Abstract Australian Landscape
Watercolour 27.5 x 33cm Signed (top left) and dated 'Kenneth Rowntree '85' Provenance: Anderson & Garland Studio sale of Kenneth Rowntree lot 263 Tuesday 8 September 2009 For biographical details and other works by Rowntree click here. Rowntree visited Australia in 1984/85. In this painting he picks up various vignettes from the Australian landscape in six separate blocks. Two relate to the sky, with almost-unbroken blue skies stretching from horizon to horizon, three relate to desert areas, with a whole array of different textures, and one is a luscious green. In one of the desert scenes he has picked out two road signs, in typical Rowntree fashion, reducing them to their simplest form. In her essay Kenneth Rowntree: A Strange Simplicity (published in Kenneth Rowntree A Centenary Exhibition Published by Moore-Gwyn Fine Art and Liss Llewellyn Fine Art, on behalf of the artist’s estate, on the occasion of the centenary of Kenneth Rowntree’s birth) Alexandra Harris makes reference to this painting noting:Later, in 1986, just when the young David Hockney was collaging the signs and road-markings of Route 138 in Pearblossom Highway, Rowntree was in Australia painting yellow diamond-shaped road-signs as bright icons in open country. Wherever he went, Rowntree captured both the unfamiliarity of places and their relationship to things he knew. Heading into the Australian outback, he painted a road-sign as he would paint a rail signal at Clare in Suffolk or nautical markers at Swansea.
Hockney's 1986 Pearblossom Highway may be seen here in the Getty and it is worth noting that Rowntree was in fact painting the yellow sign in 1985, so a year before Hockney. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Kerry Lee (1903-1988)
'Cambridge' Original Poster Map c. 1965
45x58cm Original Vintage Lithographic poster Published by Pictorial Maps Limited, Kerry Lee's own company The first edition of this map was 1947; this is a later edition showing as it does Fitzwilliam College in its new location on the Huntingdon Road where it moved in 1963, but still referring to it as Fitzwilliam House - it became a college in 1966. Well known as a creator of pictorial maps of British cities from the mid 20th century, he generally draws a self-portrait in the bottom corner by his signature - as here, where he is seen (mustachioed and bearded, and clad in a green tunic) with his ever-faithful dog Jim. Educated at Reading Schools of Arts and Science, the Slade and the Sorbonne in Paris, he subsequently assisted his step-father, an architect named Mr Harvey, as draftsman. Following the Depression Lee set up 'Associated Artists' at Blandford Studios off Baker Street, with a group of other commercial artists. During World War 2 he was based in Hertfordshire creating detailed cut-away drawings of German aircraft, and after the war - still at Blandford Studios - published a series of pictorial maps, both those for British Rail and also his own publications. -
Anon.
Kew Gardens Routemaster
Slipboard Poster c.1970 Screenprint poster 64x9cm In a black hand-finished frame. Printed for London Transport for use on Routemaster or RT buses. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Excellent. -
King’s College Cambridge from The Backs
Watercolour 24×16.5cm If you are interested email info@manningfineart.co.ukor call us on 07929 749056. -
Anonymous King's College Cambridge with the River Cam and Bridge to foreground
51x63.5cm Watercolour Probably 1920s A fine, and large, view of King's College. The artist paints in an art deco style, picking out the stones of the bridge in different colours, the colours all having a heightened sense of reality. Born from cubism, the art deco era is characterised by a fragmented, geometric character particularly evident here. It gives the impression of a shimmering dream. The twenties was an incredible period of change, moving from heavy elaborate styles to a pared back and sleek style expressing more dynamism, an interest in dimension and abstraction. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
King’s College Chapel Cambridge
King’s College Chapel Cambridge (1895) Watercolour 35×24.5cm Click to see St John's College by the same hand. If you are interested email info@manningfineart.co.ukor call us on 07929 749056. -
Andrew Ingamells (1956 - )
King's College, Cambridge
Etching 54 x 48 cm Signed lower right in pencil. Inspired by David Loggan’s celebrated engraving of the College in 1680, this view of King's College was the first of Ingamells’ series of views of Oxford and Cambridge. It took six months to complete and has long-since sold out from the publisher. Ingamells trained at St Albans School of Art and the London College of Printing, subsequently working as a graphic designer and illustrator. Based in London, he began making drawings of the buildings and landscapes of London. Ingamells’ work is in many public collections including those of the Tate Gallery, The National Trust, The Paul Mellon Centre for British Art, and the City of London Guildhall Library. His pictures are also in several private collections, including those of various Oxford and Cambridge colleges, HM King Charles III, and Shell Oil. The artist is currently part-way through his epic project to record all the colleges of Oxford and Cambridge, a project undertaken in homage to David Loggan. Condition: excellent; in wood frame. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of King's College, Cambridge. -
Walter Hoyle (1922 - 2000)
King's College, Cambridge (Cambridge Series 1956 - 66)
Linocut 56 x 43 cm Signed and inscribed A/P in pencil. Possibly unique. Hoyle's view of King's College, Cambridge, with a slice of blue sky behind. Hoyle trained at Beckenham School of Art and the Royal College of Art. At the latter he was strongly influenced by Edward Bawden, one of Britain’s greatest linocut printers. Bawden had been commissioned by the 1951 Festival of Britain to produce a mural for the South Bank, and chose Hoyle to assist on account of his great talent. Hoyle moved to Great Bardfield in Essex, becoming a part of the Great Bardfield group of artists; diverse in style, they created figurative work, in stark contrast to the abstract art of the St Ives artists at the opposite end of the country. Hoyle taught at St Martin’s School of Art from 1951-60, the Central School of Arts and Crafts from 1960-64, and the Cambridge School of Art from 1964-1985, during which time he launched Cambridge Print Editions. His work is held in the collections of the Tate Gallery, the Victoria and Albert Museum, The British Museum, Kettle’s Garden and the Fry Art Gallery. Provenance: family of the artist. Condition: generally very good; a few handling marks and a little age toning to the margins. Vertical impressins within and below the blue vertical area which are probably part of the artist's working technique. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of King's College, Cambridge. -
Walter Hoyle (1922 - 2000)
King's College, Cambridge (Cambridge Series 1956 - 66)
Linocut 46 x 56 cm Signed, titled, and numbered 5/5 in pencil. Hoyle's view of King's College, Cambridge, against a shadowy yellow sky. Hoyle trained at Beckenham School of Art and the Royal College of Art. At the latter he was strongly influenced by Edward Bawden, one of Britain’s greatest linocut printers. Bawden had been commissioned by the 1951 Festival of Britain to produce a mural for the South Bank, and chose Hoyle to assist on account of his great talent. Hoyle moved to Great Bardfield in Essex, becoming a part of the Great Bardfield group of artists; diverse in style, they created figurative work, in stark contrast to the abstract art of the St Ives artists at the opposite end of the country. Hoyle taught at St Martin’s School of Art from 1951-60, the Central School of Arts and Crafts from 1960-64, and the Cambridge School of Art from 1964-1985, during which time he launched Cambridge Print Editions. His work is held in the collections of the Tate Gallery, the Victoria and Albert Museum, The British Museum, Kettle’s Garden and the Fry Art Gallery. Provenance: the artist's wife. Condition: very good; few handling marks to margin, a horizontal crease about half way down that was likely in the paper prior to printing. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of King's College, Cambridge. -
Walter Hoyle (1922 - 2000)
King's College, Cambridge (Cambridge Series 1956 - 66)
Linocut 61 x 80 cm Numbered 37/75 lower left, titled below, marked as artist's proof, and signed lower right, all in pencil. A blue- and grey-hued linocut of King's. A version of this print, owned by the Government Art Collection, hangs in the British Embassy in Tunis. Hoyle trained at Beckenham School of Art and the Royal College of Art. At the latter he was strongly influenced by Edward Bawden, one of Britain’s greatest linocut printers. Bawden had been commissioned by the 1951 Festival of Britain to produce a mural for the South Bank, and chose Hoyle to assist on account of his great talent. Hoyle moved to Great Bardfield in Essex, becoming a part of the Great Bardfield group of artists; diverse in style, they created figurative work, in stark contrast to the abstract art of the St Ives artists at the opposite end of the country. Hoyle taught at St Martin’s School of Art from 1951-60, the Central School of Arts and Crafts from 1960-64, and the Cambridge School of Art from 1964-1985, during which time he launched Cambridge Print Editions. His work is held in the collections of the Tate Gallery, the Victoria and Albert Museum, The British Museum, Kettle’s Garden and the Fry Art Gallery. Provenance: ex the Arthur Andersen collection. Condition: generally very good; some gentle and even age toning to paper. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of King's College, Cambridge. -
Walter Hoyle (1922 - 2000)
King's College Chapel, Cambridge (Cambridge Series 1956 - 66)
Linocut 72 x 41 cm Signed and inscribed A/P in pencil. Hoyle depicts King's College Chapel as both indomitable and delicate. The bold composition sees the chapel's spires surrounded by a fiery orange light against the black night of the background; at the same time, the western facade looks like it could have been cut from paper, or crafted from lace. Hoyle trained at Beckenham School of Art and the Royal College of Art. At the latter he was strongly influenced by Edward Bawden, one of Britain’s greatest linocut printers. Bawden had been commissioned by the 1951 Festival of Britain to produce a mural for the South Bank, and chose Hoyle to assist on account of his great talent. Hoyle moved to Great Bardfield in Essex, becoming a part of the Great Bardfield group of artists; diverse in style, they created figurative work, in stark contrast to the abstract art of the St Ives artists at the opposite end of the country. Hoyle taught at St Martin’s School of Art from 1951-60, the Central School of Arts and Crafts from 1960-64, and the Cambridge School of Art from 1964-1985, during which time he launched Cambridge Print Editions. His work is held in the collections of the Tate Gallery, the Victoria and Albert Museum, The British Museum, Kettle’s Garden and the Fry Art Gallery. Provenance: family of the artist. Condition: generally very good; a few handling marks to margins. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of King's College, Cambridge. -
Brendan Neiland (b.1941) R.A. (Expelled)
Hyde Park Barracks, Knightsbridge (1979)
Screenprint 35 x 51 cm Signed, titled, dated and numbered 153/300 in pencil. A print of the facade of Hyde Park Barracks, reflected in still water and backed by a bright blue sky. Reflected architecture is one of Neiland's most recurring themes. The Hyde Park Barracks (often known as Knightsbridge Barracks) on the southern edge of Hyde Park. The barracks are 3⁄4 mile from Buckingham Palace, enabling the officers and soldiers of the Household Cavalry to be available to respond speedily to any emergency at the Palace, practice drills on the Horse Guards Parade, and conduct their ceremonial duties. Neiland is known for his interpretations of city life. His work is widely exhibited in major museums and galleries worldwide including, in Britain, the Victoria and Albert Museum, The Tate Gallery London, The Collections of the British Council and the Arts Council of Great Britain. He is represented by the Redfern Gallery and has had numerous shows internationally, including at the Galerie Belvedere in Singapore, who represent him in Singapore and the Far East. Condition: slight browning to sheet; small stain to top right corner. When mounted this will not be perceptible. If you’d like to know more, please email info@manningfineart.co.uk or call us on 07929 749056. -
Michel Dureil (1929 - 2011)
La Table du Jardin / Garden Table with a Black Cat
Oil on canvas 35 x 44 cm A black cat stretches beside a typical French table, observed by bright orange flowers. Orange cushions and an orange sun-umbrella complete the scene. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. -
Brendan Neiland (b. 1941) R.A. (Expelled)
Lady Margaret Hall
Screenprint 46 x 27 cm Signed, titled, and numbered 42/175 in pencil. A screenprint of the cupola atop Lady Margaret Hall's Talbot Building. Reflected architecture is one of Neiland’s most recurring themes. Neiland's work is widely exhibited in major museums and galleries worldwide including, in Britain, the Victoria and Albert Museum, The Tate Gallery London, The Collections of the British Council, and the Arts Council of Great Britain. He is represented by the Redfern Gallery and has had numerous shows internationally, including at the Galerie Belvedere in Singapore, who represent him in Singapore and the Far East. Condition: very good. If you are interested, please email info@manningfineart.co.uk or call us on 07929 749056. Click here for other views of Lady Margaret Hall. -
Lancaster Bomber AU-Q loading bombs
Original Silver Gelatin photograph 25 x 20 cm Stamped to reverse 'Copyright Associated Press Photograph' Press release states:LAST MINUTE PREPARATIONS FOR TOMORROW'S ATTACK ON THE FLEET At RAF Station Upwood, Hunts, today, Dec 8th last minute preparations were being carried out for tomorrow's attack on the fleet. Photo shows airmen of 148 Squadron no 3 Bomber Command look over smoke bombs with a Lancaster in background. WOR 339888 Provenance: from the collection of Philip J R Moyes, author of many books on the RAF, most notably The Pictorial History which ran to several volumes. Condition: generally good. -
Lancaster Bomber AU-Q loading bombs
Original Silver Gelatin photograph 21 x 25 cm Stamped to reverse 'Copyright Associated Press Photograph' Press release states:LAST MINUTE PREPARATIONS FOR TOMORROW'S ATTACK ON THE FLEET At RAF Station Upwood, Hunts, today, Dec 8th last minute preparations were being carried out for tomorrow's attack on the fleet. Photo shows a Lancaster being made ready for a dawn take off tomorrow photographed this evening against the setting sun. WOR 339889 Associated Press Photo Provenance: from the collection of Philip J R Moyes, author of many books on the RAF, most notably The Pictorial History which ran to several volumes. -
Out of stock
Lancaster Bomber being armed
Original Silver Gelatin photograph, c. 1942 16 x 21 cm Stamped to reverse 'Copyright this photograph must not be reproduced without the permission of Aeroplane' and 'This photograph has been passed by censor'. The photograph of the Swinderby based 50 Sqn - was taken in 1942. Either at the June reopening of the aerodrome with its new concrete runways (replacing grass) or in August when the photographers descended on the aerodrome again to take photographs for aircraft recognition purposes. Everitt survived the war - having flown 56 operations for which he was decorated three times, subsequently he was a bombing instructor, commanded a V-bomber squadron, and played golf into his nineties. He died in 2012 and the Telegraph published an excellent obituary. Provenance: from the collection of Philip J R Moyes, author of many books on the RAF, most notably The Pictorial History which ran to several volumes. -
Lancaster Bomber De-icing System
Silver Gelatin photograph 1943 12 x 16 cm Stamped to reverse 'This photograph has been passed by censor. 17 Dec 1943' 'Copyright This TP copyright illustration from "The Aeroplane" must not be reproduced without the written permission of Temple Press Ltd.' 'De-icing system. - Cold air is passed into the flame-trap exhaust and forces hot air into wing leading edge.' Condition: good. Provenance: from the collection of Philip J R Moyes, author of many books on the RAF, most notably The Pictorial History which ran to several volumes. -
Lancaster Bombers under Construction
Original Silver Gelatin photograph 17 x 21 cm Stamped to reverse 'Certified by Photographic News Agencies Ltd as passed by Censor' '23 Oct 1942' This photograph shows the parts of a Lancaster bomber being assembled. At the back of the photograph, facing away from the viewer, are two nearly or newly completed aircraft, their airscrews visible attached to the wings. The factory buzzes with activity as important war work is undertaken. We have been unable to trace any other copy of this photograph. Provenance: from the collection of Philip J R Moyes, author of many books on the RAF, most notably The Pictorial History which ran to several volumes. -
Lancaster LL678 'Lily Mars' - 1
Silver Gelatin photograph, December 1943 12 x 16 cm Stamped to reverse 'The Photograph has been passed by Censor' 'Copyright This TP copyright illustration from "The Aeroplane" must not be reproduced without the written permission of Temple Press Ltd'. 'A general view of an Avro Lancaster II with Hercules radial motors.' 300 Lancaster II aeroplanes were made, fitted with Bristol Hercules radial engines, as there was a worry that there would be a shortage of Merlin engines, reserved for the Spitfire and Hurricane. Lily Mars was named after the 1943 American musical starring Judy Garland and was based at RAF Waterbeach, in Cambridgeshire. An excellent podcast (click) gives details of the final flight on 13 June 1944 which was to be the final raid of the crew's tour. The bombing raid was of 303 Lancasters against the Nordstern synthetic oil plant at Gelsenkichen in the Ruhr, deep inside Germany and the aircraft took off at 23.12 hrs. On the home run LL678 was intercepted and shot down by a night fighter capitained by Oberleutnant Schmidt in a Bf 110 at 01.24 hrs at Zuidloo, a small hamlet, where five of the eight crew are buried; the other three crew members baled out and escaped. A memorial plaque was laid on 4 May 2016 and a Lancaster flypast was arranged. Owing to technical problems a Dakota from the BBMF was sent instead. On 4 May 2022 the Lancaster of the BBMF undertook a flypast which can be seen here. Dietrich Schmidt (1919-?) had 29 confirmed night kills by the time of LL678, achieving 41 kills by the end of the war off 171 missions and was awarded the Ritterkreuz - Knight's Cross. In 1999 the living crewmembers, Dutch resistance and Schmidt and his wireless operator met in the Netherlands. -
Lancaster LL678 'Lily Mars' - 2
Original Silver Gelatin photograph, December 1943 12 x 16 cm Stamped to reverse 'The Photograph has been passed by Censor' 'Copyright This TP copyright illustration from "The Aeroplane" must not be reproduced without the written permission of Temple Press Ltd'. 'Lancaster II heavy bombers are now flying with RAF BOMBER COMMAND.' 300 Lancaster II aeroplanes were made, fitted with Bristol Hercules radial engines, as there was a worry that there would be a shortage of Merlin engines, reserved for the Spitfire and Hurricane. Lily Mars was named after the 1943 American musical starring Judy Garland and was based at RAF Waterbeach, in Cambridgeshire. A podcast (click) gives details of the final flight on 13 June 1944 which was to be the final raid of the crew's tour. The bombing raid was of 303 Lancasters against the Nordstern synthetic oil plant at Gelsenkichen in the Ruhr, deep inside Germany and the aircraft took off at 23.12 hrs. On the home run LL678 was intercepted and shot down by a night fighter capitained by Oberleutnant Schmidt in a Bf 110 at 01.24 hrs at Zuidloo, a small hamlet, where five of the eight crew are buried; the other three crew members baled out and escaped. A memorial plaque was laid on 4 May 2016 and a Lancaster flypast was arranged. Owing to technical problems a Dakota from the BBMF was sent instead. On 4 May 2022 the Lancaster of the BBMF undertook a flypast which can be seen here. Dietrich Schmidt (1919-?) had 29 confirmed night kills by the time of LL678, achieving 41 kills by the end of the war off 171 missions and was awarded the Ritterkreuz - Knight's Cross. In 1999 the living crewmembers, Dutch resistance, and Schmidt and his wireless operator met in the Netherlands. Provenance: from the collection of Philip J R Moyes, author of many books on the RAF, most notably The Pictorial History which ran to several volumes. -
Lancaster bomber LL683 General View of Hercules Power Egg
Silver Gelatin photograph 17 December 1943 12 x 16 cm LL683 JI-P was a Lancaster II and therefore fitted with Bristol Hercules engines rather than the Rolls-Royce Merlin. 350 aircraft were outfitted thus, as a result of fears of shortages of the Merlin. The Hercules came complete as a 'power egg' which is a modular engine installation including ancillary equipment which could be swapped over rapidly for maintenance purposes. LL683 was assigned to 514 Squadron RAF, stationed at Waterbeach from December 1943 with an operational strength of thirty aircraft. The squadron eventually received sixty-seven such Lancasters (fifty-nine of which were destroyed by enemy action or accident). Stationed at Waterbeach from December 1943, the squadron had previously been stationed at RAF Foulsham in Norfolk. Three of the bombers made the move between the two airfields via a bombing raid on Berlin, the crew members' kit - including bicycles - also travelling via Berlin. LL683, serving with 514 Squadron RAF and stationed at Waterbeach had John Clare Gilbertson-Pritchard as pilot for a bombing raid on Stuttgart on the night of 01/02 March 1944. Back in action on 30/31 March for a 795-bomber raid raid on Nurnberg and piloted by W/O WL McGown, the aeroplane suffered a forced landing at Sawbridgeworth; all crew members survived though one broke his back and never flew again. Condition: good. Provenance: from the collection of Philip J R Moyes, author of many books on the RAF, most notably The Pictorial History which ran to several volumes. -
Out of stock
Lancaster Bomber at RAF Waddington
Original Silver Gelatin photograph 16 x 22 cm Stamped to reverse 'Passed by censor' and 'Copyright This photograph must not be reproduced without permission of 'The Aeroplane.' Unfortunately the serial number of the aeroplane is unclear. It may be RAF Waddington-based R5905 of 44 Sqn which crash landed near Madum in Denmark on 24 September 1942. The crew all survived the landing and were taken prisoner, spending the rest of the war in a PoW camp (where one died in March 1945) before returning home. Further details regarding their exploits are here. Alternatively it is R5903 also of 44 Sqn which crashed at Klosterholte on 7 October 1942 having left RAF Waddington; five of the crew survived the crash, with the two airgunners dying. -
Lancaster Bombers
Original Silver Gelatin photograph for Aeroplane magazine 16 x 21 cm Stamped to reverse 'Copyright This photograph must not be reproduced without permission of Aeroplane'. -
Out of stock
Lancaster Bomber
Original Silver Gelatin photograph, July 1942 11 x 16 cm Stamped to reverse 'Passed for Publication 2 July 1942 Press and Censorship Bureau', 'Public Relations Branch MAP'. A fine photograph; two erks are adjusting the starboard undercarriage of a Lancaster bomber whilst being supervised - the supervisor apparently with his hands in his pockets in very unmilitary fashion! The sun is high in the sky, casting a rather fine shadow under the bomber. -
Out of stock
Lancaster Bomber VN-N R5689
Original Silver Gelatin photograph 11 x 16 cm Stamped to reverse 'This TP Copyright illustration from 'The Aeroplane' must not be reproduced without the written permission of Temple Press.' The photograph - and several others of the Swinderby based R5689 of 50 Sqn - was taken on 28 August 1942. The pilot was Sqn Ldr Hugh Everitt. One of the most photographed Lancasters of the RAF's fleet, it was utilised for literature that trained aircrew to recognise the Lancaster. It is also proposed that it be imortalised by the Bomber Gateway Trust with a lifesize replica spraying poppies across the country, just a short distance from its crash site in Lincolnshire. Further funding is required before the project can be completed. R5689 was destroyed on the night of 18/19 September that year. It had been on a sea mining mission and crashed on landing when both port engines failed. Four crew members were killed and three further were injured. Everitt was not flying R5689 on the night it crashed. He survived the war - having flown 56 operations for which he was decorated three times, commanded a V-bomber squadron and played golf into his nineties. He died in 2012 and the Telegraph published an obituary. We have another photograph that includes him sitting on the grass in front of a Lancaster that is being armed. -
Lancaster Bomber VN-N R5689
Original Silver Gelatin photograph 11 x 16 cm Stamped to reverse 'This TP Copyright illustration from 'The Aeroplane' must not be reproduced without the written permission of Temple Press.' The photograph - and several others of the Swinderby based R5689 of 50 Sqn - was taken on the base open day in June 1942, a week or so after the aerodrome had reopened having been improved with concrete - rather than grass - runways. R5689 was destroyed on the night of 18/19 September that year. It had been on a sea mining mission and crashed on landing when both port engines failed. Four crew members were killed and three further were injured. It is also proposed that R5689 be imortalised by the Bomber Gateway Trust with a lifesize replica spraying poppies across the country, just a short distance from its crash site in Lincolnshire. Further funding is required before the project can be completed. They have 'colourised' a copy of this photograph on their website, see here. Condition: the photograph has discoloured and taken on a sepia hue as may be seen in the image. Provenance: from the collection of Philip J R Moyes, author of many books on the RAF, most notably The Pictorial History which ran to several volumes. -
Out of stock
Lancaster Bomber W4113 GP-J
Original Silver Gelatin photograph, c. 1944 19 x 24 cm Published in Aeroplane Magazine, 4 February 1944. Stamped to reverse 'Wanted by 31 Janary' making this the original photograph used by the editing team at Aeroplane; and 'T[emple] P[ress] Ltd'. Photograph in official Air Ministry Second World War Collection, glass plate negative taken by F/O S A Devon. Lancaster B Mark I, W4113 ‘GP-J’, of No. 1661 Heavy Conversion Unit based at Winthorpe, Nottinghamshire, in flight. W4113 was a veteran aircraft having flown on a number of raids with Nos. 49 and 156 Squadrons RAF in 1942 and 1943, and was sent to a Heavy Conversion Unit where airmen were trained to operate the Lancaster. Became 4969M on 9/12/44, being reclassified as a ground instruction aircraft. W4113 took part in the following bombing raids: No. 49 Squadron; 1) Düsseldorf, 15-16/08/42; 2) Osnabrück, 17-18/08/42; 3) Flensburg, 18-19/08/42; 4) Gardening, Bornholm, 20-21/08/42; 5) Kassel, 27-28/08/42; 6) Saarbrücken, 01-02/09/42; 7) Duisburg, 06-07/09/42; 8.) Frankfurt, 08-09/09/42; 9) Bremen, 13-14/09/42; 10) Wilhelmshaven, 14-15/09/42; 11) Gardening, Kattegatt, 18-19/09/42; 12) Wismar, 01-02/10/42; 13) Aachen, 05-06/10/42; 14) Wismar, 12-13/10/42; 15) Kiel, 13-14/10/42; 16) Cologne, 15-16/10/42; 17) Genoa, 22-23/10/42; 18.) Genoa, 07-08/11/42; 19) Hamburg, 09/10/11/42; 20) Genoa, 15-16/11/42; 21) Stuttgart, 22-23/11/42; 22) Turin, 28-29/11/42; 23) Mannheim, 06-07/12/42, 24) 20-21/12/42. No. 156 Squadron.: a) Nuremburg, 25-26/02/43. It was produced in the third production batch of 207 aircraft ordered from A. V. Roe Co., Ltd., as part of Contract No. B69274/40 (as extended) under Works Order No. 7671, W4102-W4140, W4154-W4201, W4230-4279, W4301-W4340 and W4355-W4384. Deliveries commenced 07/42, completed 11/42 (average rate of production, approximately 13 aircraft per week). Merlin XX and XXII engines. Original Contract covered 453 aircraft in this batch but 243 were cancelled (W4385-W4900, W4414-4463, W4481-W4524, W4537-W4385, W4600-W4641 and W4655-W4700). Provenance: from the collection of Philip J R Moyes, author of many books on the RAF, most notably The Pictorial History which ran to several volumes. Condition: a couple of old edge tears and creases, visible in image. -
Out of stock
Lancaster Bomber W4127
Original Silver Gelatin photograph 16 x 21 cm Stamped to reverse 'Copyright this photograph must not be reproduced without the written permission of The Aeroplane.' W4127, of Sqn 419 (RCAF) was lost on the night of 20/21 April 1944 whilst returning from a mission to bomb the railway yards at La Chappelle. Having taken off from Dunholme Lodge at 22.07 and completed its bombing raid, it was attacked by a night fighter, suffering a fire in one wing, crashing north of Paris. The yards were badly damaged by the bombing, the mission a success. Six of the crew were killed and are buried in Poix de la Somme churchyard, whilst one, Bob Hortie, evaded escape. The Comet line - the escape line that took downed airmen to Spain whereby they could return to England - found it hard to operate with the destruction of rail and road infrastructure in the period leading up to D-Day and the invasion of Europe. Airey Neave of MI9 therefore set up three camps in isolated forests in Northern France where downed airmen could await the invading allied forces. The camps were supplied - and manned - by the allies through parachute drops. Hortie was one of 152 allied airmen to be in the camp at Fréteval - codenamed 'Sherwood Camp'. Neave went to France in the middle of August, to Le Mans which was controlled by the Americans and was 75 miles from Sherwood Camp. The Americans distrusted Neave and refused to provide him with transport. He managed to come up with some trucks and buses, which - decked out with flowers and French flags and guarded by a civilians armed with rifles and a handful of SAS men - set out to Fréteval on 14 August 1944 returning the same day with 132 airmen. A further 20 were recovered the following day. Most returned to active service and 38 died before the end of the war. A souvenir from the camp is published here on the internet. The camps were due to be set up by a team that included Belgian resistance member Michelle Dumon, who at the age of 22 (with an identity card that showed she was 16) had exfiltrated 250 airmen by this point. However she unmasked a German infiltrator into the Comet line just as the camps were being set up and was therefore sought by the Gestapo and had to flee to England. That seemingly simple journey of course meant a perilous journey across France to Spain, crossing the Pyrenees on foot, and being rescued by the RAF. In this photograph L4127 is without its squadron letters, suggesting that it is fresh out of the factory at the time of the photograph. -
Lancaster Bomber W4131 Undercarriage
Original silver gelatin photograph c. 1943 21 x 16 cm Stamped 'Copyright Aeroplane Magazine' Stamped 'Passed by Censor' Rare; we have been unable to trace another copy of this photograph in any collection. W4131 served with 50 Squadron, based at Swinderby. On 18 August 1942 W4131 crash landed at Swinderby on return from a training flight at 17.15. The wheels were retracted too soon on take-off by pilot SGT PH Blaskey, damaging the undercarriage. The pilot and crew were uninjured. It is possible that this photograph records repairs to the undercarriage following this incident. On 28 March 1943 W4131 was involved in another incident, again at Swinderby. Although the aeroplane landed safely, the airframe was found to have been strained during a fighter affiliation exercise as a result of violent movements. On 1 June 1943 while serving with 1660 HCU (Heavy Conversion Unit) the undercarriage collapsed following an engine failure during take-off from Swinderby. The aircraft was written off on 12 June 1943. Condition: good. Provenance: from the collection of Philip J R Moyes, author of many books on the RAF, most notably The Pictorial History which ran to several volumes. -
Lancaster Bomber with 8000lb cookie bomb
Original Silver Gelatin photograph, September 1943 19 x 25 cm Stamped to reverse 'Copyright this photograph must not be reproduced without the written permission of The Aeroplane.' BRITISH OFFICIAL PHOTOGRAPH CH 10939(WK) Air Ministry Photo- Crown Copyright Reserved (Picture issued September 1943) THE RAF's EIGHT THOUSAND POUND BOMB Stamped to reverse 'British Official Photograph, Crown Copyright Reserved, Supplied by BIPPA, Passed for publication by Ministry of Information'. The press release states: First official photographs of the RAF's 8,000 lb and 4,000 lb bombs are now released. Their weight has been felt with devastating effect on enemy targets in Italy and Germany. Picture shows:- Close-up of an 8,000 lb bomb in front of the Lancaster which will carry it on the night's raid. The 8000 lb 'super cookie' was a 'blockbuster' bomb, so-called because it could destroy an entire block of flats on its own. The Germans called these large bombs 'Luftminen' - airmines - as during the Blitz the large bombs used by the Luftwaffe were adapted marine mines. Judging by the length of the hair of the person sitting by the bomb, this is a member of the WAAF. WAAFs were often used to drive tractors on aerodromes during the war. Condition: generally good Provenance: from the collection of Philip J R Moyes, author of many books on the RAF, most notably The Pictorial History which ran to several volumes. -
Owen Miller (1907-1960)
Instrument Bulletin No. 1 - Lancaster Bomber
Our Target is Their Success Original poster c. 1943 75x49cm Printed for HMSO by Multi Machine Plates Ltd for the Ministry of Aircraft Production In the last war our airmen were alone in the sky - dependent only on their wings and their wits. Now they find their way, are warned of danger, know their course, their height, their speed, can calculate their change - by the instruments that keep them in touch with the world. Several miles aloft, a hundred miles away, in glorious combat, in desperate danger - it is you who warn, speed, comfort and save them. Britain owes you many precious lives. Click here for biographical details and other works by the artist. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. -
Lance Cottermole A Map of Northumberland & Durham, UK
1949 Lithographic poster Published for Railway Executive 102x63cm If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Good. Backed to linen, repaired tear, presents very well. -
Laurence Dunn (1910-2006)
Drawing of the 'Easton' Canadian laker steamer (c.1950s)
21 x 12.5 cm Pencil Extensively inscribed. Sketch of the ship of the "Easton" in harbour. Dunn has included notes about its colour, presumably for a future painting. Dunn was a well known marine artist and writer. The World Ship Society published the following obituary for Dunn. DUNN, Laurence. [December 15 2006 — Lloyds List] Many readers will be saddened by the death of well-known marine artist and writer Laurence Dunn in his 97th year. A man of encyclopaedic knowledge, he began his lifelong love of ships in Brixham, where he meticulously recorded passing traffic with the exquisitely accurate line drawings which later became something of a trademark. While studying at London’s Central School of Art his work was noticed by the Southern Railway, which commissioned profiles of its fleet, and this in turn led to work for Orient Line, where he also designed the well-known corn-coloured hull, and later Thorneycroft, where he helped with shaping draft plans for a new royal yacht. During the second world was he worked for naval intelligence at the Admiralty, where his technique did much to improve recognition standards, and greatly expanded his shipping clientele, becoming personally known to many chairmen. As well as the shipping press he worked for mainstream publications such as Everybody’s, Sphere and the upmarket comic Eagle. Through his many contacts he enjoyed going to sea in a great variety of ships from aircraft carriers to colliers. Laurence wrote several books, starting with ship recognition titles which introduced new standards of layout, but his best known work was probably Passenger Liners, which was widely taken up by the travel trade. His love of Greece, where he was an early publicist of island cruising, let to involvement in reshaping various passenger liners beginning with Greek Line’s OLYMPIA. In later life he designed several sets of shipping stamps for the Crown Agents, produced photographic volumes on Thames and Mediterranean shipping and still found time to enjoy the passing Thames traffic. Our sympathies go to his wife Jennifer, who provided succour to the many ship lovers who beat a path to the welcoming door of their Gravesend home. -
Laurence Dunn (1910-2006) Otra
Gouache 11.5x18cm Inscribed to reverse 'Rough sketch for painting of "Otra" commissioned for Capt. F.E. Eagle, whose favourite command she was' and signed 'Laurence Dunn' The World Ship Society published the following obituary for Dunn: DUNN, Laurence. [December 15 2006 — Lloyds List] Many readers will be saddened by the death of well-known marine artist and writer Laurence Dunn in his 97th year. A man of encyclopaedic knowledge, he began his lifelong love of ships in Brixham, where he meticulously recorded passing traffic with the exquisitely accurate line drawings which later became something of a trademark. While studying at London’s Central School of Art his work was noticed by the Southern Railway, which commissioned profiles of its fleet, and this in turn led to work for Orient Line, where he also designed the well-known corn-coloured hull, and later Thorneycroft, where he helped with shaping draft plans for a new royal yacht. During the second world was he worked for naval intelligence at the Admiralty, where his technique did much to improve recognition standards, and greatly expanded his shipping clientele, becoming personally known to many chairmen. As well as the shipping press he worked for mainstream publications such as Everybody’s, Sphere and the upmarket comic Eagle. Through his many contacts he enjoyed going to sea in a great variety of ships from aircraft carriers to colliers. Laurence wrote several books, starting with ship recognition titles which introduced new standards of layout, but his best known work was probably Passenger Liners, which was widely taken up by the travel trade. His love of Greece, where he was an early publicist of island cruising, let to involvement in reshaping various passenger liners beginning with Greek Line’s OLYMPIA. In later life he designed several sets of shipping stamps for the Crown Agents, produced photographic volumes on Thames and Mediterranean shipping and still found time to enjoy the passing Thames traffic. Our sympathies go to his wife Jennifer, who provided succour to the many ship lovers who beat a path to the welcoming door of their Gravesend home. If you are interested email info@manningfineart.co.uk or call us on 07929 749056. Condition: Excellent. -
Laurence Dunn (1910-2006)
Coal Barge (c.1950)
12.5 x 25 cm Watercolour and ink Signed 'L Dunn' lower left Extensively inscribed to bottom corners, including comments 'coal should be lighter' indicating this is a preliminary watercolour for a future painting. He also makes reference to the continued existence of a 'wartime wooden bulkhead' - added to make the ship more resilient in the event of enemy action. Laurence Dunn (1910-2006) was a well-known British marine artist and writer. The World Ship Society published the following obituary for Dunn: DUNN, Laurence. [December 15 2006 — Lloyds List] Many readers will be saddened by the death of well-known marine artist and writer Laurence Dunn in his 97th year. A man of encyclopaedic knowledge, he began his lifelong love of ships in Brixham, where he meticulously recorded passing traffic with the exquisitely accurate line drawings which later became something of a trademark. While studying at London’s Central School of Art his work was noticed by the Southern Railway, which commissioned profiles of its fleet, and this in turn led to work for Orient Line, where he also designed the well-known corn-coloured hull, and later Thorneycroft, where he helped with shaping draft plans for a new royal yacht. During the second world was he worked for naval intelligence at the Admiralty, where his technique did much to improve recognition standards, and greatly expanded his shipping clientele, becoming personally known to many chairmen. As well as the shipping press he worked for mainstream publications such as Everybody’s, Sphere and the upmarket comic Eagle. Through his many contacts he enjoyed going to sea in a great variety of ships from aircraft carriers to colliers. Laurence wrote several books, starting with ship recognition titles which introduced new standards of layout, but his best known work was probably Passenger Liners, which was widely taken up by the travel trade. His love of Greece, where he was an early publicist of island cruising, let to involvement in reshaping various passenger liners beginning with Greek Line’s OLYMPIA. In later life he designed several sets of shipping stamps for the Crown Agents, produced photographic volumes on Thames and Mediterranean shipping and still found time to enjoy the passing Thames traffic. Our sympathies go to his wife Jennifer, who provided succour to the many ship lovers who beat a path to the welcoming door of their Gravesend home. -
Laurence Dunn (1910-2006)
A Series of Coastal Tramp Silhouettes
34.5 x 24 cm Bodycolour on paper Dunn’s depictions of coastal tramps are early works, likely captured from the side of the Thames estuary near his home. This work contains extensive notes on the featured ships.Laurence Dunn (1910-2006) was a well-known British marine artist and writer known for his depictions of ships. He grew up in Devon, where he practised drawing passing ships, and went on to study at the Central School of Art. He then worked for shipbuilding firm John I. Thornycroft & Company Limited, where he contributed to the design of the Royal Yacht. During the Second World War, Dunn worked in naval intelligence. In the early 1960s, he created many line drawings of Atlantic ocean liners.
Upon his death in 2006, the World Ship Society published the following obituary:
DUNN, Laurence. [December 15 2006 — Lloyds List] Many readers will be saddened by the death of well-known marine artist and writer Laurence Dunn in his 97th year. A man of encyclopaedic knowledge, he began his lifelong love of ships in Brixham, where he meticulously recorded passing traffic with the exquisitely accurate line drawings which later became something of a trademark. While studying at London’s Central School of Art his work was noticed by the Southern Railway, which commissioned profiles of its fleet, and this in turn led to work for Orient Line, where he also designed the well-known corn-coloured hull, and later Thorneycroft, where he helped with shaping draft plans for a new royal yacht. During the second world was he worked for naval intelligence at the Admiralty, where his technique did much to improve recognition standards, and greatly expanded his shipping clientele, becoming personally known to many chairmen. As well as the shipping press he worked for mainstream publications such as Everybody’s, Sphere and the upmarket comic Eagle. Through his many contacts he enjoyed going to sea in a great variety of ships from aircraft carriers to colliers. Laurence wrote several books, starting with ship recognition titles which introduced new standards of layout, but his best known work was probably Passenger Liners, which was widely taken up by the travel trade. His love of Greece, where he was an early publicist of island cruising, let to involvement in reshaping various passenger liners beginning with Greek Line’s OLYMPIA. In later life he designed several sets of shipping stamps for the Crown Agents, produced photographic volumes on Thames and Mediterranean shipping and still found time to enjoy the passing Thames traffic. Our sympathies go to his wife Jennifer, who provided succour to the many ship lovers who beat a path to the welcoming door of their Gravesend home.
